Petar Kodzas
Between Worlds
© 2007 Clear Note (634479677205) (format: CD-R)
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Works for classical guitar inspired by folk music
tracks
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albums you will love
- JEFF COGAN: Postcard from Keremma
- ROBERT SWENSEN & JAMES M. DAY: Night and Dreams
- JOUNI STENROOS: Liebeslied
- STEPHEN NG: The Diary of One Who Vanished
- ADAGIO: Andrew Zohn
- STEPHEN MATTINGLY: Franz Shubert - Complete Chamber Music With Guitar
- STEPHEN ARON: Brazilian Masterworks For Guitar
- ANDREW ZOHN & JEFFREY MCFADDEN: Duo Spiritoso
- MATTHEW COCHRAN: Shenandoah
- DIMITRIS KOTRONAKIS: Echomythia
- APOSTOLOS PARASKEVAS: Laments
- APOSTOLOS PARASKEVAS: Visions of Azure
- STEPHEN ROBINSON: The American Record
- STEPHEN ROBINSON: Felicidade
- STEPHEN ARON: My Favorite Chopin Mazurkas
- APOSTOLOS PARASKEVAS: Night Wanderings
- SUITE FLORIDA: Rex Willis
- CLASSICAL GUITAR: Karl Wolff
- GARDEN OF EDEN: Apostolos Paraskevas
- EL CAMPO AZUL: Armando Arciniega & Santiago Jimenez Jr.
- BAROQUE MUSIC FOR GUITAR: Karl Wolff
genres you will love
By Location
notes
BETWEEN WORLDS
Every page of music we play becomes a piece of personal and intimate history. These pages we keep over time, as we travel and perform, become almost autobiographical, displaying comments written down from other guitarists, coffee stains from some festival, secret messages from my wife, my daughter’s artistic miniatures and my own personal remarks.
Each of the works that I chose for this recording of classics inspired by folk music, have been with me for some time. They show a history of my thoughts and travels in the margins alongside the musical notes of my favorite composers.
Petar Kodzas
Joaquin Rodrigo
...As good as it gets: phenomenal writing, energy and nerve, driving spirit of the history, Spain, a guitarists marathon!
Joaquin Rodrigo is a quintessential figure in guitar literature. Composing in the nationalistic idiom did not prevent Rodrigo from creating his own individual and vivid style. Based on flamenco forms (Fandango, Zapateado) and reaching even farther back to the Spanish baroque era (Passacaglia), Rodrigo's Three Spanish Pieces are stellar examples of his art. They are bursting with distinct rhythm, pungent harmonies, polyphonic mastery, and inspiring lyricism.
John Duarte
...A hot summer in Greece, I'm wrapped in wet bedsheets trying to cool myself and practice with songs of cicadas louder than my metronome...
Duarte was the Renaissance man of the guitar: an enthusiast, performer, historian, pedagogue, writer, and above all a prolific composer. This work, written in 1967, successfully combines his love of dense harmonies with a modal folk language of the British Isles and echoes of John Dowland's polyphony. The outer movements provide a rustic frame for the lyrical, romantic and melancholic middle movement.
Mario Castelnuovo Tedesco
...The land of dreams where art, nature (tarantulas!) and beauty live on every corner, the sun, the wine, the sea and music from every rock...
Mario Castlenuevo Tedesco's Tarantella points to the composer’s Italian origins. Even though he spent much of his creative life in California where he was very successful and influential as a composer of film music, Tedesco's guitar music is preoccupied with Italianate and Mediterranean themes. His music echoes with traditional melodies, sometimes underlined by parallel thirds, evocative of vocal harmonizing in coastal regions. All these elements are intensified by his gift for dramatic development and his keen sense of proportion.
Bela Bartok
...Summer festival in Alexandria, the guitar and banjo duet, nostalgically reminding me of the center of the Balkans, the earth, the past...
Hungarian born composer Bella Bartok is one of the pioneers of ethnomusicology. His contributions as a composer and ethnomusicologist have been an inspiration to generations of musicians. Without romanticizing his harmonies or trying to alter any "irregularities" of melodies, Bartok creates arrangements that are fresh and original without compromising the folk essence. Certain characteristics make this piece very amiable to transcription for guitar. In the piano original he insists on open sounding voicing, often avoiding the defining third of a chord. Often the texture is dense, almost guitaristic in range with most movements written in sharp keys allowing for transcriptions to stay true to the original tonalities.
Serbia
...My earliest memories of music: family gatherings, with my dad and aunts at the piano, cuddled up in my mother's lap not wanting to go to sleep, wanting to hear yet another song. My mother's voice singing that last song before the dreams of sleep...
You might say this entire recording was inspired by my need to unite my two musical "Platonian" halves, folk and classical music. The four sketches of this piece are folk melodies that I learned by rote some time ago. I've never seen them written and haven't researched their sources. They are simply there in my memory from as far back as I can remember. Here I weave these memories together with musical motives for fun in a guitaristic fashion.
Mertz
...Kilbourn Hall, Martha Sebestien's magical voice as she twirls about in a pleated skirt. The fast section of the “Fantasie” starts to play itself...
I often think of Johan Kaspar Mertz as a Liszt of the guitar. The two of them contemporaries, Mertz challenged the limits of guitar playing the way Liszt did on the piano. Mertz's arrangements of Schubert songs are indebted to Liszt's transcriptions in many ways and the Hungarian fantasy played here, echoes some of the Gypsy influence that inspired Liszt. Mertz's wonderful recreation of the lamenting tone of the Hungarian and Gypsy music awakens within the whirling rendition of Czardas!